Have you ever imagined Philippine folk dances, Tinikling as an example, turned into a pas de deux? How about popular ballroom exhibitions and modern street dances for Pinoys such as Samba and Hiphop transformed as a jete? What if Filipino games like sipa, luksong tinik, tumbang preso or taguan are explored using pirouet as the basic pattern? Perhaps, it is mesmerizing to visually experience seeing these Filipino cultures and traditional forms rolled into one ballet concert.
Ballet Manila, Manila Broadcasting Company and Aliw Theater collaborated to present this colorful and delightful ballet concert entitled HALO HALO SUPREME, A FIESTA OF FILIPINO BALLETS featuring Prima Ballerina Lisa Macuja-Elizalde, who also serves as the artistic director of BM together with Osias Barroso, the artistic associate; Jerome Espejo; Mylene Aggabao; Gerardo Francisco; Nino Guevarra; Ruby De Dios; Sofia Sangco; Yanti Marduli; Marcus Tolentino; Eileen Lopez; Francis Cascano and Alvin Santos among other company members including BM company and school scholars. Lighting designer and technical director Jaime Villanueva, live band group Makiling, noted choreographers Agnes Locsin, Tony Fabella and Albert Dimarucut successfully joined in as part of the creative team.
The first part of the show was a little bit vague and shaky in contrast with a more solid and interesting rendition of the second part called Pista. Halo Halo started out using wrong choices of music such as Allegro (Paul Hindemith) and Arachnida (Les Helcomb and Matthew Fargher). These two did not gel with the title itself to begin with. It sounded so foreign and totally out of the concept. Obviously, it was sort of a warm-up for the BM dancers although consequently, the dance Dulce choreography was closer to the theme. Then came Pista, the strongest if not the brightest part of the show. It showcased the various traditional Filipino games which went higher and higher to its peak. To see sipa, patintero, luksong tinik and taguan to name some injecting humor plus character role-play of the dancers created such theatricality and originality. Social celebrations were also used and added. Choreographers Barroso and Francisco stirred the fun and excitement for young and young at heart audiences using maglalatik, sayaw sa bangko, subli to name a few as it visually transformed as a concrete ballet form.
Indeed, Ballet Manila proves successfully this mixture of classical strict form ballet juxtaposing enjoyably with our identified Pinoy traditions in contemporary setting on stage. At the huge Aliw Theater in CCP complex last August 10, 2008, many young audience members appreciated watching an interesting rendition of such concept. Lisa Macuja-Elizalde, artistic director of Ballet Manila, undoubtedly made the right move to include in this year’s season repertoire.
Halo Halo Supreme is a unique Filipino dance-ballet concept reaching out conveniently to more audiences – teenagers and adults alike. Ballet Manila shoud never stop from creating bravura ballet dance pieces mirroring our very own Philippine traditions.
Wednesday, October 1, 2008
The cinematic impulse in Tanghalang Pilipino’s Golden Child (Theater)
Sharing the theater limelight of Lea Salonga in Broadway Asia’s Cinderella held at the Main Theater is the - Tanghalang Pilipino staging of David Henry Hwang’s Golden Child at the Little Theater, both showing in the premises of Cultural Center of the Philippines and both Tony award-winning Filipino theater artists.
Golden Child tells the story of Andrew Kwong who visited in a dream by his long deceased grandmother Ahn, and forcefully narrates the story of her father. While doing a flashback scene in China, the family awaits his return after spending several years of doing business transactions in the Philippines. His three wives, Siu Yong, Luan and Eling, after receiving each a gift, fear that their strict traditional Chinese culture might lead to an end. Consequently, a British missionary Reverend Baines influences Eng Tien Bin to convert to being a Christian. It follows then through some unfortunate events in the lives of the family as Ahn, claiming to be the golden child and the daughter of Siu Yong, observes what has become the story of her father’s destiny in life.
Hwang made this voyage so similar with the story of his grandmother who particularly lived in Cebu, his grandparent’s hometown.
In this particular play, Loy Arcenas, the director, captured what has to be both Asian and Western. Using witty dialogues of Hwang, he even made the staging visually stunning when he used layers of translucent scrim curtains of black and red from foreground to background, typically used for Asian’s representation of death (black) and revenge (red). This becomes so cinematic especially on the use of lights.
One comment though in the play is that there is a need on stage a white curtain perhaps at the center to complete the perfect harmony of death, revenge and rebirth. The latter should symbolically represent as a continual journey of life after death (notion about the souls roaming around us). This definitely was not clear.
Tantamount to its brilliant set design and direction were the actors. Every scene was so effective and magnified with its allusion of cinematic editing transitions whenever lights would dissolve from one area to another, leaving the mysticism of the Chinese tradition so interesting to look at on stage. Tina Chilip (Luan, the second wife) played it so well that every scene of hers catches every beat and nuance of the lines. She creates her own space as if she owns it. Liesl Batucan (Eling, the third wife), Tess Jamias (Ahn, golden child), Leo Rialp (Reverend Baines) were also captivating in most of the scenes. Art Acuna (Andrew Kwong / Eng Tien Bin) displayed his acting style so vividly. His clarity and understanding of how the characters should be are evident in his portrayal. Finally, this perhaps makes Irma Adlawan Marasigan one fine thespian artist we can boast of today in contemporary Philippine theater. She puts exact timing of humor and seriousness effortlessly not to mention her elegant, consistent gestures with confidence and maturity as an actress. Truly, a great ensemble cast artistically enunciated with power and intelligence in the craft.
Hwang must not have been aware of the positive marks he has done with theatrical scenes almost like film sequences, inter-cutting it with one room to another. This idea welcomes the usage of cinematic techniques on stage wherein seldom thought of by a playwright who has a background on screen writing. In the Golden Child, this concept is absolutely striking.
In multiplying the dramatic efficiency of Arcenas’ staging were Victor Villareal’s rhythmical use of sound and music, Gino Gonzales’ costuming and Barbie Tan-Tiongco’s cinematic lighting. These greatly supported the cinematic impulse of David Henry Hwang’s masterpiece.
Golden Child tells the story of Andrew Kwong who visited in a dream by his long deceased grandmother Ahn, and forcefully narrates the story of her father. While doing a flashback scene in China, the family awaits his return after spending several years of doing business transactions in the Philippines. His three wives, Siu Yong, Luan and Eling, after receiving each a gift, fear that their strict traditional Chinese culture might lead to an end. Consequently, a British missionary Reverend Baines influences Eng Tien Bin to convert to being a Christian. It follows then through some unfortunate events in the lives of the family as Ahn, claiming to be the golden child and the daughter of Siu Yong, observes what has become the story of her father’s destiny in life.
Hwang made this voyage so similar with the story of his grandmother who particularly lived in Cebu, his grandparent’s hometown.
In this particular play, Loy Arcenas, the director, captured what has to be both Asian and Western. Using witty dialogues of Hwang, he even made the staging visually stunning when he used layers of translucent scrim curtains of black and red from foreground to background, typically used for Asian’s representation of death (black) and revenge (red). This becomes so cinematic especially on the use of lights.
One comment though in the play is that there is a need on stage a white curtain perhaps at the center to complete the perfect harmony of death, revenge and rebirth. The latter should symbolically represent as a continual journey of life after death (notion about the souls roaming around us). This definitely was not clear.
Tantamount to its brilliant set design and direction were the actors. Every scene was so effective and magnified with its allusion of cinematic editing transitions whenever lights would dissolve from one area to another, leaving the mysticism of the Chinese tradition so interesting to look at on stage. Tina Chilip (Luan, the second wife) played it so well that every scene of hers catches every beat and nuance of the lines. She creates her own space as if she owns it. Liesl Batucan (Eling, the third wife), Tess Jamias (Ahn, golden child), Leo Rialp (Reverend Baines) were also captivating in most of the scenes. Art Acuna (Andrew Kwong / Eng Tien Bin) displayed his acting style so vividly. His clarity and understanding of how the characters should be are evident in his portrayal. Finally, this perhaps makes Irma Adlawan Marasigan one fine thespian artist we can boast of today in contemporary Philippine theater. She puts exact timing of humor and seriousness effortlessly not to mention her elegant, consistent gestures with confidence and maturity as an actress. Truly, a great ensemble cast artistically enunciated with power and intelligence in the craft.
Hwang must not have been aware of the positive marks he has done with theatrical scenes almost like film sequences, inter-cutting it with one room to another. This idea welcomes the usage of cinematic techniques on stage wherein seldom thought of by a playwright who has a background on screen writing. In the Golden Child, this concept is absolutely striking.
In multiplying the dramatic efficiency of Arcenas’ staging were Victor Villareal’s rhythmical use of sound and music, Gino Gonzales’ costuming and Barbie Tan-Tiongco’s cinematic lighting. These greatly supported the cinematic impulse of David Henry Hwang’s masterpiece.
Potent Machinations in Broadway Asia Entertainment’s Cinderella (Theater)
The temperament of staging conventional theater musicals these days seem to inculcate basically humanistic values and indicative of personal-spiritual transformations. But to some extent, these purveyors of theatrical fantasies can be harmful as well.
Having watched the ongoing musical led by Tony award-winning actress Lea Salonga at the Cultural Center of the Philippines Main Theater in collaboration with an almost inter-racial ensemble cast has led the Filipino audience literally unmoved. Perhaps, the staging did not focus much on the basic storytelling device which is to intentionally move the audience and let them experience what these basic human distortions can offer. Instead, the archetypal process of this production totally misleads the audience using technology as a source of hypnosis. Director Bobby Garcia must have been too keen in perfecting the theatrics and forgets ultimately that musical theater is also a way of boosting the morale of the audience. Hence, making the audience experience falsification embroidered with artificiality and disdain.
The ornamentation of Cinderella story captivates all sorts of Asia's societal issues including cruelty, discrimination, injustice, greed, inequality, lust, power and poverty as seen through in various countries especially the Philippines. Dreaming is hallucinatory in effect. It can be psychologically disturbing. On the other hand, dream can signify hope. Hope is real and should never be taken as a mockery but an awakening of calculated future actions. Garcia was neither giving both interpretations a space on stage. He maneuvered the audience endlessly with pure machinations. Everything was mechanical not to mention credible magic machineries like the changing of the rags-to-riches Cinderella costuming, transformational sceneries from the castle to the ball, the pumpkin carriage and a whole lot more.
Though it succeeded in giving spectacular technical triumph in terms of scene design (David Gallo); costume design (Renato Balestra); wig and hair design (Robert-Charles Vallance); lighting design (Paul Miller); projection design (G.A. Fallarme); magic design (Don Wayne); sound design (Michael Waters); orchestrations (Robert Russel Bennett); orchestrator (Larry Blank); musical director / conductor (J. Michael Duff) and choreography (Vince Pesce), the production still lacks sincerity and sympathy.
Salonga, no doubt about her crystal voice and longevity in acting and singing effectively Rodgers and Hammerstein’s long list of musical achievements in tones and melodies of all the songs of Cinderella, should avoid doing ingenue roles. Vivacious as she is, casting her on stage doing child-like Cinderella is a make-believe. Peter Saide (Prince) plays the character with full of theatricality adding on to the wrong vision of the production. However, Saide makes his charming physique successful to a younger crowd. Moreover, the metaphoric contrapuntal parts of the ensemble cast were exaggeratedly annoying probably because of stereotyping the characters the way other cultures would definitely disagree.
It would have been an interesting viewpoint to see an all-Filipino cast interpreting Broadway Asia’s Cinderella in an emotionally-charged ensemble pervasive of its Asia’s true socio-economic conditions. Thus, becoming more relevant to theater audiences in Manila. After all, Cinderella did originate in China, an Asian country with full of mysticism and magic but still hopeful of reality - like a dogma.
Having watched the ongoing musical led by Tony award-winning actress Lea Salonga at the Cultural Center of the Philippines Main Theater in collaboration with an almost inter-racial ensemble cast has led the Filipino audience literally unmoved. Perhaps, the staging did not focus much on the basic storytelling device which is to intentionally move the audience and let them experience what these basic human distortions can offer. Instead, the archetypal process of this production totally misleads the audience using technology as a source of hypnosis. Director Bobby Garcia must have been too keen in perfecting the theatrics and forgets ultimately that musical theater is also a way of boosting the morale of the audience. Hence, making the audience experience falsification embroidered with artificiality and disdain.
The ornamentation of Cinderella story captivates all sorts of Asia's societal issues including cruelty, discrimination, injustice, greed, inequality, lust, power and poverty as seen through in various countries especially the Philippines. Dreaming is hallucinatory in effect. It can be psychologically disturbing. On the other hand, dream can signify hope. Hope is real and should never be taken as a mockery but an awakening of calculated future actions. Garcia was neither giving both interpretations a space on stage. He maneuvered the audience endlessly with pure machinations. Everything was mechanical not to mention credible magic machineries like the changing of the rags-to-riches Cinderella costuming, transformational sceneries from the castle to the ball, the pumpkin carriage and a whole lot more.
Though it succeeded in giving spectacular technical triumph in terms of scene design (David Gallo); costume design (Renato Balestra); wig and hair design (Robert-Charles Vallance); lighting design (Paul Miller); projection design (G.A. Fallarme); magic design (Don Wayne); sound design (Michael Waters); orchestrations (Robert Russel Bennett); orchestrator (Larry Blank); musical director / conductor (J. Michael Duff) and choreography (Vince Pesce), the production still lacks sincerity and sympathy.
Salonga, no doubt about her crystal voice and longevity in acting and singing effectively Rodgers and Hammerstein’s long list of musical achievements in tones and melodies of all the songs of Cinderella, should avoid doing ingenue roles. Vivacious as she is, casting her on stage doing child-like Cinderella is a make-believe. Peter Saide (Prince) plays the character with full of theatricality adding on to the wrong vision of the production. However, Saide makes his charming physique successful to a younger crowd. Moreover, the metaphoric contrapuntal parts of the ensemble cast were exaggeratedly annoying probably because of stereotyping the characters the way other cultures would definitely disagree.
It would have been an interesting viewpoint to see an all-Filipino cast interpreting Broadway Asia’s Cinderella in an emotionally-charged ensemble pervasive of its Asia’s true socio-economic conditions. Thus, becoming more relevant to theater audiences in Manila. After all, Cinderella did originate in China, an Asian country with full of mysticism and magic but still hopeful of reality - like a dogma.
Monday, July 28, 2008
PETA's Noli at Fili Dekada 2000
Two outstanding novels Noli Me Tangere (1887) and El Filibusterismo (1891) written by our National Hero Jose Rizal once more are proven to be timeless and appropriate up to these days. The Philippine Educational Theater Association (PETA) proudly brings their audiences to another level of discourse tackling the social, political and economic conditions of our fellow ‘kababayans’ and our beloved country today.
Nicanor Tiongson adapts the novels into two-act dramatic text without forgetting some of the most memorable characters popularized by its authenticity in Philippine culture and identity – Act I: Ibarra Marasigan (Crisostomo Ibarra); Governor Santiago Santos (Kapitan Tiyago); Salvador Salvatierra (Salvi); Damaso Villareal (Damaso); Kumander Elias (Elias) and Act II: Kumander Simon (Simoun); Kumander Sally (Salome); Juli (Juli); Basilio (Basilio) to name a few. Members of the audience can easily identify the characters made by Rizal to that of Tiongson.
PETA’s version parallels and presents socio-realistic viewpoints about the ongoing national issue on deforestation and its continuing illegal practices of loggers from various provincial towns like in Tara Illenberger’s Brutus, a Mindoro tale in the lives of illegal loggers and one of the winning entries in Cinemalaya Independent Film Festival 2008.
Specifically cited in the program notes is the town of Infanta, Quezon where in 2004, hundreds of families and thousands of people suffered from heavy floods and mudflows due to the evident loss of trees. While in the play, Tiongson cites Maypajo town in the province of San Lorenzo in Southern Tagalog with Sierra Madre mountains as the most affected area.
PETA’s resident theater director Soxy Topacio synthesizes Tiongson’s newer interpretation to his provocative staging about power, leadership, betrayal and love for the country. Impressive theater elements depicted on the staging are Gino Gonzales’ elegant yet ominous set design, accurate lighting provided by Jonjon Villareal and Dodjie Fernandez in creating an engaging music and sound together with Noel Cabangon.
Lead actor Lex Marcos heads an effective ensemble cast of veteran theater artists Robert Sena, Bembol Roco alternates with Bodjie Pascua, Jack Yabut, Raffy Tejada, Ernie Cloma, Jess Evadone and Upeng Galang-Fernandez. Marcos makes his acting debut on PETA stage something to look forward to especially with his death as Kumander Simon in Act II.
In the epilogue, it stirred those Rizal fanatics in embroidering hope and continues effort to change the absurdities and helpless conditions of Filipinos in the twenty-first century’s ever increasing oil crisis, rice and other basic commodities. Does this sound too cliché for the numbing resolutions of Philippine governance? To quote in their program: “The slaves of today will be the tyrants of tomorrow.” Change should start from within oneself or society’s cancer will definitely spread all over like a virus. Thus, change is a wake-up call for all of us regardless of social status and faith.
Noli at Fili Dekada 2000 is PETA’s 41st Theater Season opener. It will run until August 24, 2008 at PhinMa Theater, PETA Center. For ticket inquiries, call PETA office at (02)4100821.
Nicanor Tiongson adapts the novels into two-act dramatic text without forgetting some of the most memorable characters popularized by its authenticity in Philippine culture and identity – Act I: Ibarra Marasigan (Crisostomo Ibarra); Governor Santiago Santos (Kapitan Tiyago); Salvador Salvatierra (Salvi); Damaso Villareal (Damaso); Kumander Elias (Elias) and Act II: Kumander Simon (Simoun); Kumander Sally (Salome); Juli (Juli); Basilio (Basilio) to name a few. Members of the audience can easily identify the characters made by Rizal to that of Tiongson.
PETA’s version parallels and presents socio-realistic viewpoints about the ongoing national issue on deforestation and its continuing illegal practices of loggers from various provincial towns like in Tara Illenberger’s Brutus, a Mindoro tale in the lives of illegal loggers and one of the winning entries in Cinemalaya Independent Film Festival 2008.
Specifically cited in the program notes is the town of Infanta, Quezon where in 2004, hundreds of families and thousands of people suffered from heavy floods and mudflows due to the evident loss of trees. While in the play, Tiongson cites Maypajo town in the province of San Lorenzo in Southern Tagalog with Sierra Madre mountains as the most affected area.
PETA’s resident theater director Soxy Topacio synthesizes Tiongson’s newer interpretation to his provocative staging about power, leadership, betrayal and love for the country. Impressive theater elements depicted on the staging are Gino Gonzales’ elegant yet ominous set design, accurate lighting provided by Jonjon Villareal and Dodjie Fernandez in creating an engaging music and sound together with Noel Cabangon.
Lead actor Lex Marcos heads an effective ensemble cast of veteran theater artists Robert Sena, Bembol Roco alternates with Bodjie Pascua, Jack Yabut, Raffy Tejada, Ernie Cloma, Jess Evadone and Upeng Galang-Fernandez. Marcos makes his acting debut on PETA stage something to look forward to especially with his death as Kumander Simon in Act II.
In the epilogue, it stirred those Rizal fanatics in embroidering hope and continues effort to change the absurdities and helpless conditions of Filipinos in the twenty-first century’s ever increasing oil crisis, rice and other basic commodities. Does this sound too cliché for the numbing resolutions of Philippine governance? To quote in their program: “The slaves of today will be the tyrants of tomorrow.” Change should start from within oneself or society’s cancer will definitely spread all over like a virus. Thus, change is a wake-up call for all of us regardless of social status and faith.
Noli at Fili Dekada 2000 is PETA’s 41st Theater Season opener. It will run until August 24, 2008 at PhinMa Theater, PETA Center. For ticket inquiries, call PETA office at (02)4100821.
The Phenomenal Cinemalaya: an Experience
Cinemalaya started having a very small community. I have not heard of it til Cinemalaya’s 3rd came last year. I was able to watch almost all the full-lengths. Of course, many entries were mostly half-baked last year. Jim Libiran’s Tribu though became one of my favorite viewed films and eventually held the best picture in the recognition rite.
I have always craved for excellent Filipino aesthetics. Many of our kababayans are much into the arts. Even our kasambahays (helpers) are good at either singing or inclined in a lot of art appreciations. They also become critics when watching TV’s teleseryes and other local and international movies shown in cable while amos (bosses) boringly watch in their living rooms preoccupied with a lot of things in mind. Kasambahays, after all, come from rich sources of native arts that would even be related when they see such on television.
The ability to grow in us the art forms embodies the kind of people we are – hungry and thirsty for artistic excellence. My Cinemalaya experience delimits the class struggle for I saw, heard and mingled with different sectors in our society talking intelligently about the films. Many of our influential personalities (celebrities, politicians, producers, directors, businessmen) would bring in their PA’s (personal assistants) / secretaries and others would bring in their kasambahays (helpers) beside them watching conveniently (maids are the ones buying tickets for their amos and they’re included in the privilege of watching). On the other hand, I saw some prominent people (Atty. Giana Reyes-Montinola, daughter of the owner of FEU, director Joel Lamangan among others) that would even fall in line to secure tickets. While students and their respective teachers in film and other tangible subjects in different universities all the way from Los Banos, Binan, Cavite, Bulacan, Quezon and Rizal were even there for cinematic experience and perhaps, springboards for future interactions in classrooms through viewed films. Even the Mangyans in Mindoro (Brutus) came in to see their own stories in their film.
This is phenomenal I must say.
I congratulate each artist as they involved themselves in the practice of the craft and presumably perfecting it. If last year I was able to watch almost all film entries with close friends from the entertainment industry (actress Eugene Domingo, director Andoy Ranay, comedienne Candy Pangilinan, director Dante Garcia among other friends), this year I finally became independent and watched all full-lengths. Most of the time, I would just go in CCP without pre-planned viewing with friends and yet I get to see a lot of familiar friends and ended up together in watching.
This Independent Film Festival became my independence as well as an audience member and lover of cinema.
I was impressed on the directorial approaches of Ellen Ongkeko-Marfil (Boses), Francis Pasion (Jay), Chris Martinez (100), Paul Morales (Concerto), Tara Illenberger (Brutus). They were able to transform the written text into an exciting set of visual and aural spectacle. I was moved, affected and disturbed by 100 (Chris Martinez), Boses (Ellen Ongkeko-Marfil), Jay (Francis Pasion) and Concerto (Paul Morales) because of the premise, conflict and even catharsis of their respective stories.
I salute actors Shamaine Buencamino, Meryll Soriano, Nonoy Froilan (Concerto); Mylene Dizon, Eugene Domingo, Tessie Tomas (100); Baron Geisler, Coco Martin, Flor Salanga (Jay); Julian Duque, Ricky Davao, Coke Bolipata, Cherry Pie Pichache (Boses); Jojit Lorenzo, Ces Quesada, Dante Balois (Baby Angelo); Ronnie Lazaro (Brutus); Neil Ryan Sese (Huling Pasada); Mailes Kanapi (My Fake American Accent) and Garry Lim (Ranchero).
I love the editing of Jay (Kats Serraon, Chuck Gutierrez, Francis Pasion); Concerto (Laz Andre); Brutus (Fiona Borres, Tara Illenberger). I commend the production design of Concerto (Gerry Santos), Boses (Bianca Gonalez). I enjoyed and was moved by the theme music of Namets (Vince de Jesus); Concerto (Jed Balsamo); Boses (Coke Bolipata).
I hope that with Cinemalaya’s quest for development in Philippine cinema, filmmakers, whether mainstream or independent, should realize and must then create outstanding and 'never-heard' stories using this phenomenal medium and still the most popular artistic tool in the arts today.
The event itself deserves all the recognitions it must take.
To close this event and my life-experience in Cinemalaya, let me tell you that our fellow Pinoys are aware of their innate creative talents - encourage and challenge them instead of suppressing their freedom and their rights to express. They should be given more opportunities like this. Stop the politicking and Philippine arts would soar high. Stop the crab mentality as well and everything will turn out well. Sometimes artists themselves would destroy each other's personal reputation.
Just do your thing, create, excel and that's it!
Brava Philippine cinema! Brava Cinemalaya!
I have always craved for excellent Filipino aesthetics. Many of our kababayans are much into the arts. Even our kasambahays (helpers) are good at either singing or inclined in a lot of art appreciations. They also become critics when watching TV’s teleseryes and other local and international movies shown in cable while amos (bosses) boringly watch in their living rooms preoccupied with a lot of things in mind. Kasambahays, after all, come from rich sources of native arts that would even be related when they see such on television.
The ability to grow in us the art forms embodies the kind of people we are – hungry and thirsty for artistic excellence. My Cinemalaya experience delimits the class struggle for I saw, heard and mingled with different sectors in our society talking intelligently about the films. Many of our influential personalities (celebrities, politicians, producers, directors, businessmen) would bring in their PA’s (personal assistants) / secretaries and others would bring in their kasambahays (helpers) beside them watching conveniently (maids are the ones buying tickets for their amos and they’re included in the privilege of watching). On the other hand, I saw some prominent people (Atty. Giana Reyes-Montinola, daughter of the owner of FEU, director Joel Lamangan among others) that would even fall in line to secure tickets. While students and their respective teachers in film and other tangible subjects in different universities all the way from Los Banos, Binan, Cavite, Bulacan, Quezon and Rizal were even there for cinematic experience and perhaps, springboards for future interactions in classrooms through viewed films. Even the Mangyans in Mindoro (Brutus) came in to see their own stories in their film.
This is phenomenal I must say.
I congratulate each artist as they involved themselves in the practice of the craft and presumably perfecting it. If last year I was able to watch almost all film entries with close friends from the entertainment industry (actress Eugene Domingo, director Andoy Ranay, comedienne Candy Pangilinan, director Dante Garcia among other friends), this year I finally became independent and watched all full-lengths. Most of the time, I would just go in CCP without pre-planned viewing with friends and yet I get to see a lot of familiar friends and ended up together in watching.
This Independent Film Festival became my independence as well as an audience member and lover of cinema.
I was impressed on the directorial approaches of Ellen Ongkeko-Marfil (Boses), Francis Pasion (Jay), Chris Martinez (100), Paul Morales (Concerto), Tara Illenberger (Brutus). They were able to transform the written text into an exciting set of visual and aural spectacle. I was moved, affected and disturbed by 100 (Chris Martinez), Boses (Ellen Ongkeko-Marfil), Jay (Francis Pasion) and Concerto (Paul Morales) because of the premise, conflict and even catharsis of their respective stories.
I salute actors Shamaine Buencamino, Meryll Soriano, Nonoy Froilan (Concerto); Mylene Dizon, Eugene Domingo, Tessie Tomas (100); Baron Geisler, Coco Martin, Flor Salanga (Jay); Julian Duque, Ricky Davao, Coke Bolipata, Cherry Pie Pichache (Boses); Jojit Lorenzo, Ces Quesada, Dante Balois (Baby Angelo); Ronnie Lazaro (Brutus); Neil Ryan Sese (Huling Pasada); Mailes Kanapi (My Fake American Accent) and Garry Lim (Ranchero).
I love the editing of Jay (Kats Serraon, Chuck Gutierrez, Francis Pasion); Concerto (Laz Andre); Brutus (Fiona Borres, Tara Illenberger). I commend the production design of Concerto (Gerry Santos), Boses (Bianca Gonalez). I enjoyed and was moved by the theme music of Namets (Vince de Jesus); Concerto (Jed Balsamo); Boses (Coke Bolipata).
I hope that with Cinemalaya’s quest for development in Philippine cinema, filmmakers, whether mainstream or independent, should realize and must then create outstanding and 'never-heard' stories using this phenomenal medium and still the most popular artistic tool in the arts today.
The event itself deserves all the recognitions it must take.
To close this event and my life-experience in Cinemalaya, let me tell you that our fellow Pinoys are aware of their innate creative talents - encourage and challenge them instead of suppressing their freedom and their rights to express. They should be given more opportunities like this. Stop the politicking and Philippine arts would soar high. Stop the crab mentality as well and everything will turn out well. Sometimes artists themselves would destroy each other's personal reputation.
Just do your thing, create, excel and that's it!
Brava Philippine cinema! Brava Cinemalaya!
Dulaang UP's Hinabing Pakpak ng ating mga Anak
The hope to change street children’s lives is a test for survival among fellow Filipinos living in poverty and cataclysm. Even with the consistent support of government and non-governmental agencies like Department of Social Welfare and Development (DSWD), Global Call to Action against Poverty and Bantay-Bata 163 of the Lopezes, these kids keep on increasing and increasing out on the streets. This upheaval is yet to be told in an artistic eloquence and susceptible lyricism.
Dulaang UP’s right choice to touch on this issue has overwhelmed the audience during its opening night held at Wilfrido Ma. Guerrero Theater in UP Diliman last Wednesday, July 16, 2008. Anton Juan’s ‘Hinabing Pakpak Ng Ating Mga Anak’ narrates the stories of poverty and of dearth as children fight for true survival. These children – abused, tortured and harassed – are our true unsung heroes of Philippine society’s hope and realization for change. Juan’s elegy declares much sensitivity and calls all kinds of people to unite for justice and truth in Philippines’ decaying governance.
To parallel this theatrical event is to juxtapose the name late Rene Villanueva, a true artist and propagator of children’s mythical legends and stories in literature, be it a short story, poetry, essay and drama. Villanueva is considered by many artists as ‘father’ of children’s literature for he almost dealt his life for children. Aside from creating stories in literature, he went on to pursue exposures in media – being the creator of a popular children’s show ‘Batibot’ during the 90’s and soon followed with a whole lot more of children’s programs on television discussing refreshing insights and impact for both adult and kids. Villanueva was a recipient of many award-winning entries and even reached the ‘Hall of Fame’ stature in the annual Carlos Palanca Memorial Awards for Literature among other significant literary recognitions in the world of literature, theater and the arts.
Anton Juan, known for his first-rate visual and aural spectacle in the theater, proves once more of his intelligent use of theater as a medium of communicative transference and artistic expression to audience. His directing has a lot to say to the world and discusses the importance of memory and moments in Rene Villanueva’s literature to that of his true-to-life observations and experiences. With a keen translation of words to images, Juan creates effective symbols using Semiotics in dialogic way.
Juan collaborates with some of the noted and leading theater artists today. Among them are Alex Cortez (the new DUP artistic director), Dexter Santos (choreography), Leo Abaya (Production design), John Neil Ilao Batalla (lights design), Winter David (Video / Graphic design), Fabie Ortiz (managing director) and Jethro Joaquin (music and sounds design). These talented artists contributed a lot in the success of Juan’s staging.
The ensemble cast led by competent film-tv-theater artists Joel Saracho and Earl Ignacio, however, should put their transformations into a more truthful interpretation of the characters. Ensemble needs to realize the necessity for truth and sincerity in their acting as the staging calls for it urgently that is why immersions are encouraged in the theater for artists to observe and keep record of what the full-reality is.
Dulaang UP is making history in reaching Philippine institutions and agencies to do something for the welfare of the street children – our hope; our future. These kids are not just like dolls and toys; they’re human beings as well.
Anton Juan, now based in NotreDame University in Indiana, USA as a theater director-professor, pays tribute to late Rene Villanueva in a new devised theatrical experience.
Catch this engaging theater production at Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman. It opened July 16 and runs until August 10, 2008. For inquiries and ticket reservations, call (02) 926-13-49.
Dulaang UP’s right choice to touch on this issue has overwhelmed the audience during its opening night held at Wilfrido Ma. Guerrero Theater in UP Diliman last Wednesday, July 16, 2008. Anton Juan’s ‘Hinabing Pakpak Ng Ating Mga Anak’ narrates the stories of poverty and of dearth as children fight for true survival. These children – abused, tortured and harassed – are our true unsung heroes of Philippine society’s hope and realization for change. Juan’s elegy declares much sensitivity and calls all kinds of people to unite for justice and truth in Philippines’ decaying governance.
To parallel this theatrical event is to juxtapose the name late Rene Villanueva, a true artist and propagator of children’s mythical legends and stories in literature, be it a short story, poetry, essay and drama. Villanueva is considered by many artists as ‘father’ of children’s literature for he almost dealt his life for children. Aside from creating stories in literature, he went on to pursue exposures in media – being the creator of a popular children’s show ‘Batibot’ during the 90’s and soon followed with a whole lot more of children’s programs on television discussing refreshing insights and impact for both adult and kids. Villanueva was a recipient of many award-winning entries and even reached the ‘Hall of Fame’ stature in the annual Carlos Palanca Memorial Awards for Literature among other significant literary recognitions in the world of literature, theater and the arts.
Anton Juan, known for his first-rate visual and aural spectacle in the theater, proves once more of his intelligent use of theater as a medium of communicative transference and artistic expression to audience. His directing has a lot to say to the world and discusses the importance of memory and moments in Rene Villanueva’s literature to that of his true-to-life observations and experiences. With a keen translation of words to images, Juan creates effective symbols using Semiotics in dialogic way.
Juan collaborates with some of the noted and leading theater artists today. Among them are Alex Cortez (the new DUP artistic director), Dexter Santos (choreography), Leo Abaya (Production design), John Neil Ilao Batalla (lights design), Winter David (Video / Graphic design), Fabie Ortiz (managing director) and Jethro Joaquin (music and sounds design). These talented artists contributed a lot in the success of Juan’s staging.
The ensemble cast led by competent film-tv-theater artists Joel Saracho and Earl Ignacio, however, should put their transformations into a more truthful interpretation of the characters. Ensemble needs to realize the necessity for truth and sincerity in their acting as the staging calls for it urgently that is why immersions are encouraged in the theater for artists to observe and keep record of what the full-reality is.
Dulaang UP is making history in reaching Philippine institutions and agencies to do something for the welfare of the street children – our hope; our future. These kids are not just like dolls and toys; they’re human beings as well.
Anton Juan, now based in NotreDame University in Indiana, USA as a theater director-professor, pays tribute to late Rene Villanueva in a new devised theatrical experience.
Catch this engaging theater production at Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman. It opened July 16 and runs until August 10, 2008. For inquiries and ticket reservations, call (02) 926-13-49.
Cinemalaya Best Picture: JAY
‘Jay’ is an entry to the official CCP independent film festival termed as Cinemalaya this July 2008. Witnessing the brilliance of this film makes even more exciting to see all the full-length films lined up for competition.
The premise of the story simply translates the literal to a very captivating imagery of cinema verite (documentary) as it uses a kind of genre which is automated in reflexive type. It is like film within a film within a film – three levels of camera delusions and life-theatrics.
It tells the story of (present) Jay (played by Baron Geisler), a documentary producer and director of a newly-opened reality drama television show aired over Channel 8. He covers (past) Jay (played by RJ Payawal) who was stabbed to death in his rented apartment in Manila by an allegedly masseur (played by JC Santos) and with the 'supposedly' assistance of the tv program. Exposing the story might help discover the true gay-killer criminal in a realistic scenarios of television complexities and justice in the family. Incidentally, both Jays are gays characterized in the film and it tackles the complexities as well of this gender.
Baron Geisler disguises as the present Jay who translated the literal into something magnificent acting stint. He carries out even small scenes into bravura performances.
Some of the memorable scenes of Geisler include the scene with the past Jay’s mother (played by Flor Salanga) in the room re-enacting the seeing of the bird as a premonition of the death of his son Jay; another scene is when he asked the mother to re-enact destroyed footages of the first exposition – mother seeing for the first time the dead Jay in the embalming room for the dead; another is when he visited the museum inside the basement of the church with Jay’s former lover (played by Coco Martin) and him playing at the backdrop of this huge painted altar for 'getting married' couple.
These are some of the outstanding scenes of Geisler as he is brilliant in portraying the role of Jay. Martin, on the other hand, marks his natural acting in the film.
Successful production team is composed of director of photography (Carlo Mendoza), assistant director (Karla Pambid), production designer (Joy Puntawe), fabulous editors (Kats Serraon, Chuck Gutierrez, Francis Pasion), music (Gian Gianan), sound recording (Mark Locsin), Costume designers (Rowena Sanchez, FEU's Charmaine Idea), art director (Kariktan Pagarigan), script consultant (Armando Lao), design consultant (Leo Abaya) with Click Digital Post functioned as post production, line producer (Ronald Mangubat) and production managers (Hans Audric Estialbo, Andrew Legarda).
Though the film wants to touch a lot of universal issues, Pasion makes this directorial piece deliberately beautiful, well-crafted and intelligently told in an 'interesting way’ kind of film.
This film is currently showing in Cinemalaya 2008 at CCP.
The premise of the story simply translates the literal to a very captivating imagery of cinema verite (documentary) as it uses a kind of genre which is automated in reflexive type. It is like film within a film within a film – three levels of camera delusions and life-theatrics.
It tells the story of (present) Jay (played by Baron Geisler), a documentary producer and director of a newly-opened reality drama television show aired over Channel 8. He covers (past) Jay (played by RJ Payawal) who was stabbed to death in his rented apartment in Manila by an allegedly masseur (played by JC Santos) and with the 'supposedly' assistance of the tv program. Exposing the story might help discover the true gay-killer criminal in a realistic scenarios of television complexities and justice in the family. Incidentally, both Jays are gays characterized in the film and it tackles the complexities as well of this gender.
Baron Geisler disguises as the present Jay who translated the literal into something magnificent acting stint. He carries out even small scenes into bravura performances.
Some of the memorable scenes of Geisler include the scene with the past Jay’s mother (played by Flor Salanga) in the room re-enacting the seeing of the bird as a premonition of the death of his son Jay; another scene is when he asked the mother to re-enact destroyed footages of the first exposition – mother seeing for the first time the dead Jay in the embalming room for the dead; another is when he visited the museum inside the basement of the church with Jay’s former lover (played by Coco Martin) and him playing at the backdrop of this huge painted altar for 'getting married' couple.
These are some of the outstanding scenes of Geisler as he is brilliant in portraying the role of Jay. Martin, on the other hand, marks his natural acting in the film.
Successful production team is composed of director of photography (Carlo Mendoza), assistant director (Karla Pambid), production designer (Joy Puntawe), fabulous editors (Kats Serraon, Chuck Gutierrez, Francis Pasion), music (Gian Gianan), sound recording (Mark Locsin), Costume designers (Rowena Sanchez, FEU's Charmaine Idea), art director (Kariktan Pagarigan), script consultant (Armando Lao), design consultant (Leo Abaya) with Click Digital Post functioned as post production, line producer (Ronald Mangubat) and production managers (Hans Audric Estialbo, Andrew Legarda).
Though the film wants to touch a lot of universal issues, Pasion makes this directorial piece deliberately beautiful, well-crafted and intelligently told in an 'interesting way’ kind of film.
This film is currently showing in Cinemalaya 2008 at CCP.
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